Grain Voices
Choirs, vowels and breath, made of grains. Sung pads that move as you hold them.
New sounds for the stage and the studio, built in KiMiA, with their macros set up. Every note on this page is KiMiA's own engine playing a bank's sounds, with nothing added afterwards.
Choirs, vowels and breath, made of grains. Sung pads that move as you hold them.
Blooming grain pads, harps of particles and singing leads.
Worship pads, strings and felt keys from grains, for under the piano and the voice.
Risers, downlifters and swells for the bar before the chorus.
Arpeggios with step times, ratchets and swing. Hold a chord and play over it.
The sampled grand, voiced for ballads, pop and the band, alone and layered.
Tine and reed electric pianos, modelled: bark when you dig in, bell when you don't.
Glassy electric pianos, bells and rubber basses from four operators.
Drawbar organs from the chapel to the club, with the rotary turning.
Brassy pads, saw chords and sweeps from two oscillators and a ladder filter.
Mono leads that cut through a band: sync, pulse, glide and scream.
Ladder basses, reese and sub: lows that hold up on a club system.
Sections that swell, tremolo for tension and a full orchestra for the last chorus.
Warm beds and slow swells to play under a song, from the intro to the bridge.
Marimba, vibes, celesta and church bells, struck by a physical model.
Guitars, banjo and koto, plucked; violin and cello, bowed. All modelled.
Pads and stabs that travel through their tables while you hold them.
Hooks from now: plugg bells, reese, neon squares and club stabs.
Synthwave: outrun arps, saw leads with a dotted echo, pads like a sunset.
Drones, textures and air for film, ambient and the space between songs.
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